Based on the actual events in Nazi Germany of the brilliant and egomaniacal conductor Wilhelm Furtwangler, issues of complicity in the name of art, the relevance of art and politics, and the role of the American government with Hitler are all explored in the dramatic production.

Audiences cannot help but be involved in this play. Passions are evoked on a number of levels: political, humanitarian, religious, and ethical. And the emotional connection by the cast is equally as strong. This is not a play that slides by; instead, it grabs the spectator and draws them into issues.

As in the tale Rashamon, there are many perspectives on the tragic and flawed character of Furtwangler. To some, he was a hero who saved a number of Jews from the gas chambers. Others view him as a collaborator, keeping a relationship with Hitler and the Nazi movement to extol the great musical virtues of the German culture. Passionate jealousies within the musical world are gingerly explored.

Directed by Stamford TheatreWorks’ artistic director and founder Steve Karp, Taking Sides is presented with insights into staging, and the human dynamic.

Robert Hock plays the complex and brilliant conductor, and he is superb. To watch this masterful acting is in itself a strong reason to go see this play, which runs through November 21.

Set in the American Zone of occupied Berlin in 1946, all the action of the play takes place in the office of Major Steve Arnold. The former insurance fraud detective has been to the concentration camps with the American “liberation” and has seen the results of the Nazi’s murderous deeds and is clearly haunted by them.

In the process of investigating and then passing on to a war tribunal individuals found to be connected with Nazi atrocities, Major Arnold seizes on the prominent conductor. Like a bulldog, he then rips into him, shattering any illusion of Furtwangler’s innocence.

The contrast between the uncultured, tormented, aggressive American Major and the aloof, charismatic musical genius is in itself a mesmerizing relationship to watch unfold.

In support of the conductor, and believing in him (as did those who Schindler saved) are a young window played by Lenka Pichlikova; a young German-born American Lieutenant assigned to assist Major Arnold (Sam Jaeger); and an attractive German secretary (Anna Zastrwos).

A second-rate second violinist, Helmuth Rode (played by Harry Althaus), who was brought into the orchestra when Jewish violinists “disappeared,” secures information for the Major which seems to indict and reveal a dark side to the conductor and his actual involvement with the Nazis.

There are few flaws in the production, but they are secondary to the overall excellence of this play. Paul Falzone as the American Major is overzealous in his portrayal; some subtlety is desirable to bring more credibility to that character.

Scenic artist Christian Planton, along with scenic designer Richard Ellis, created a most effective set which was strikingly highlighted by Matthew G. Zelkowitz’s lighting effects.

(For ticket details or directions to the theatre, contact STW at 203/359-4414.)